29th European Film Awards

—  Stage Visuals

"Europe is being swept by a wave of popular disenchantment and revolt against mainstream political parties and the European Union. European Film should be a symbol of a still united Europe."

This was the stage for the 29th European Film Awards that happened on the 10th of December, 2016 at the Forum Muzyki in Wrocław, Poland.


— The Cullets

The concept from the EFA team was to translate this feeling of fragmentation visually as glass shards ("cullets") that built the stage background.

In order to bring the crystals to life, my goal was to bring as much depth and dimension as possible to the setup, while mantaining a flexible plate for the content variations.

— The Setup

The installation was made of multiple blank shapes that were either fixed on the floor or suspended by wires. Two of the bigger ones in the middle were mobile, meaning they would come together to create a 16:9 screen when needed.

The system used a total of 5 projectors to feed graphics for all of the shapes, with a total resolution of the pixel map to almost 5K at 50fps.

I had then to plan for the content of 24 categories, including titles, nominees, 8 different background animations in 3 colors each and extra material for special moments.

— Reel


— Insight

The main challenge was definitely the technical dimension. I had to find a solution to bring the qualities that were desired for the visuals, without being stuck at the lenght of massive render times.

Instead of working with heavy 3D particles and refraction, I used a workflow that was made of multiple stages of rendering between After Effects and Cinema 4D. This way I could iterate as needed and control the steps to the final picture.


— The first step was to get the exact vectors of the architecture and model the crystals out of the shapes. They would work as the master source for most of the steps.

— I animated a simple loop with a detailed refractive material from Cinema 4D, which allowed me to have a layer of glass on top of everything without extra renders.


— For the Background Loops, I built compositions in After Effects using Trapcode tools, which was a convenient way to generate material with an interesting look to feed the setup.


— The rendered plate was used in Cinema 4D as a plane with a simple glass material, to generate the refraction between the polygons without complex shading or lighting.


— The two layers were then combined and composited in After Effects to get the final look. Every background was graded in Red, Silver and Gold colors.


— Credits

Art Direction & Motion Design: Guilherme Todorov

Creative Direction: Bode Brodmüller

Produced at: Chimney Berlin